Robert Rodriguez

It's just like you're doing here, except you've got sound recording right onto the cameras, right? Or do you have it to the system?

It's just like you're doing here, except you've got sound recording right onto the cameras, right? Or do you have it to the system?

It's just like you're doing here, except you've got sound recording right onto the cameras, right? Or do you have it to the system?

Yep. So I had a camera that, yep. It was not, it was not a sync camera. And the thing was, it was so loud. I would have had to blimp the shit out of it. I didn't have a blimp. And then I would have needed a sound guy.

Yep. So I had a camera that, yep. It was not, it was not a sync camera. And the thing was, it was so loud. I would have had to blimp the shit out of it. I didn't have a blimp. And then I would have needed a sound guy.

Yep. So I had a camera that, yep. It was not, it was not a sync camera. And the thing was, it was so loud. I would have had to blimp the shit out of it. I didn't have a blimp. And then I would have needed a sound guy.

like it sounds like all your money is going away first of all so i would go like this action you'd start running yeah and i shoot my edit cut yep you know they're still running you know like i'm only using this part and there's no slates there's no nut there's there's guys holding up their fingers at the beginning of rolling this is real seven for just a few frames so i know which reel it is and then that 10 minutes of film

like it sounds like all your money is going away first of all so i would go like this action you'd start running yeah and i shoot my edit cut yep you know they're still running you know like i'm only using this part and there's no slates there's no nut there's there's guys holding up their fingers at the beginning of rolling this is real seven for just a few frames so i know which reel it is and then that 10 minutes of film

like it sounds like all your money is going away first of all so i would go like this action you'd start running yeah and i shoot my edit cut yep you know they're still running you know like i'm only using this part and there's no slates there's no nut there's there's guys holding up their fingers at the beginning of rolling this is real seven for just a few frames so i know which reel it is and then that 10 minutes of film

is just one shot after another. And I use almost every frame of those shots because I was cutting in the camera. Now, after I shoot, like, let's say, you know, tell me your name. Lex. What's your last name? Friedman. Where do you live? Austin, Texas. I would do the whole scene. Then I would get the sound, bring the mic in close like that. Say it again.

is just one shot after another. And I use almost every frame of those shots because I was cutting in the camera. Now, after I shoot, like, let's say, you know, tell me your name. Lex. What's your last name? Friedman. Where do you live? Austin, Texas. I would do the whole scene. Then I would get the sound, bring the mic in close like that. Say it again.

is just one shot after another. And I use almost every frame of those shots because I was cutting in the camera. Now, after I shoot, like, let's say, you know, tell me your name. Lex. What's your last name? Friedman. Where do you live? Austin, Texas. I would do the whole scene. Then I would get the sound, bring the mic in close like that. Say it again.

That'll probably sync. Now, if you were going on and on, there's a place where it'd go out of sync. I hate rubbery lips. So I would cut away to the dog or to the knife or to the girl. And then I cut back when you're back in sync. And since these were non-actors, they say everything the same way each time.

That'll probably sync. Now, if you were going on and on, there's a place where it'd go out of sync. I hate rubbery lips. So I would cut away to the dog or to the knife or to the girl. And then I cut back when you're back in sync. And since these were non-actors, they say everything the same way each time.

That'll probably sync. Now, if you were going on and on, there's a place where it'd go out of sync. I hate rubbery lips. So I would cut away to the dog or to the knife or to the girl. And then I cut back when you're back in sync. And since these were non-actors, they say everything the same way each time.

They would say their line, just like they weren't, they weren't performing it to where they didn't remember how they performed it before. They were just talking in their own rhythm. So a lot of the times it's the, anytime you see anyone on camera talking, they're in sync with themselves. And as soon as it cuts away, they're out of sync.

They would say their line, just like they weren't, they weren't performing it to where they didn't remember how they performed it before. They were just talking in their own rhythm. So a lot of the times it's the, anytime you see anyone on camera talking, they're in sync with themselves. And as soon as it cuts away, they're out of sync.

They would say their line, just like they weren't, they weren't performing it to where they didn't remember how they performed it before. They were just talking in their own rhythm. So a lot of the times it's the, anytime you see anyone on camera talking, they're in sync with themselves. And as soon as it cuts away, they're out of sync.

And it created this really fast cutting style that I probably wouldn't have had on such a low budget movie, but it was the only way to keep things in sync. So when I would shoot two people talking, I would make sure I'd film a couple of shots of like the dog or a stuffed cat or something, just so I'd have something to cut away to, to get them back in sync. It's just resourceful.

And it created this really fast cutting style that I probably wouldn't have had on such a low budget movie, but it was the only way to keep things in sync. So when I would shoot two people talking, I would make sure I'd film a couple of shots of like the dog or a stuffed cat or something, just so I'd have something to cut away to, to get them back in sync. It's just resourceful.